i guess the two staff
contexts were conflicting.
plutek-infinity wrote:
greetings!
in 2.11.61, this changed time signature style to numeric:
\layout {
\context {
\Staff
\override TimeSignature #'style = #'()
}
}
in 2.11.62, it no longer does so
Date: Fri, 24 Oct 2008 18:05:46 +0200
From: Mats Bengtsson [EMAIL PROTECTED]
plutek-infinity wrote:
sorry my mistake. i had this later in my layout block:
\context {
\RemoveEmptyStaffContext
}
that command, of course, defines a staff context, so i guess the two staff
greetings!
i'm trying to figure out how to apply doits to a chord, and neither of these
produces anything:
\score { c g1-\bendAfter #+5 }
\score { c-\bendAfter #+5 g-\bendAfter #+5 1 }
this has the desired effect, but seems messy and gives clashing note column
errors:
\score { \new Staff {
greetings!
i don't understand why the chord names end up below the staff when i do this:
-
\version 2.11.61
changes = \chords {
c1 c1
}
slashes = {
\override NoteHead #'style = #'slash
b'1 b'1
}
\score {
\new Staff
\changes
\slashes
From: David Bobroff [EMAIL PROTECTED]
I've posted a slightly clearer copy of such a clef to issue 693. For
what it's worth, my memory tells me that this style of C clef is to be
found in French publications. I certainly remember seeing it in
trombone parts of French pieces and this example
greetings!
is there a collected reference of the meaning of the many lilypond predefined
commands? i don't see it in the docs
in particular, right now i'm trying to figure exactly what
\compressFullBarRests does, so i can use my global style file to direct
multi-measure rests to always
From: Neil Puttock [EMAIL PROTECTED]
2008/10/9 plutek-infinity [EMAIL PROTECTED]:
greetings!
is there a collected reference of the meaning of the many lilypond
predefined commands? i don't see it in the docs
Unfortunately not, since there's currently no automatic documentation
From: Neil Puttock [EMAIL PROTECTED]
...look at the the definition in ly/
thanks very much, graham and neil -- that was the hint i needed!
cheers!
--
.pltk.
___
lilypond-user mailing list
lilypond-user@gnu.org
greetings!
thing kind of thing doesn't seem to work:
\include /some_directory/*.ly
and i don't see any reference to wildcards for \include in the docs.
is it possible somehow?
thanks!
--
.pltk.
___
lilypond-user mailing list
lilypond-user@gnu.org
From: Carl D. Sorensen [EMAIL PROTECTED]
Date: Thu, 2 Oct 2008 15:43:13 -0600
On 10/2/08 9:59 AM, plutek-infinity [EMAIL PROTECTED] wrote:
i also wish to have chord symbols only notated when they change. normally, to
implement that and the chord symbol modifications, i must put this in any
greetings!
i have implemented some changes to chord markup symbols, using the method shown
at
http://lilypond.org/doc/v2.11/Documentation/user/lilypond-big-page#Customizing-chord-names
--- i've got this in a house-style.ly, which i \include at the beginning of
each lilypond file:
%
Date: Fri, 26 Sep 2008 10:15:47 -0700
From: Paul Scott [EMAIL PROTECTED]
From here lilypond.org seems to be down. I can't even ping it.
it looks fine from here.
--
.pltk.
___
lilypond-user mailing list
lilypond-user@gnu.org
Date: Fri, 26 Sep 2008 10:37:30 -0700
From: Patrick Horgan [EMAIL PROTECTED]
Paul Scott wrote:
Hi,
From here lilypond.org seems to be down. I can't even ping it.
Paul Scott
From here too--if some can get to it, then something on the backbone
quit routing for some reason. I did a
From: Jonathan Ano [EMAIL PROTECTED]
... The users' manual for
the stable branch version is 451 pages long, and it's extremely
inconvenient to print that. I was wondering if you have the manual in
a book form that you ship; something like that would be helpful.
i don't know of anyone offering
From: Iacopo [EMAIL PROTECTED]
How to write in \chordmode this chord?
Notes: [C, D#, G, B] or [C, D#, B]
Intervals: min, maj, maj
Name: Cm7M
for a quarter-note:
c4:min 7+
--
.pltk.
___
lilypond-user mailing list
lilypond-user@gnu.org
Users of unstable LilyPond please raise a hand:
plutek raises *both* hands, hoping the vote-counters won't notice.
personal projects only (no commercial work for other folks), but all of my own
composing for my various ensembles is either hand-copied (yes, pen and ink!) or
typeset in lily
greetings!
when using voltaSpannerDuration to restrict the length of volta
brackets, i get a warning cannot end volta spanner, when my
restriction forces ending the bracket before the end of a line. the
output seems fine; just wondering if there's anything that should be
done about this
greetings!
when using \override ChordName #'font-size to make chord-names smaller,
the superscripts stay the same distance above the main text baseline.
i.e. the vertical distance between chord letter and chord type and
extensions, relative to font size, gets larger.
is this the intended
greetings!
i am copying an orchestral score in which there are three flute parts,
always in rhythmic unison. we would like them to appear in the full
score as chords, but still be easily extracted for parts. is there a way
(other than a lot of cut'n'paste) to do this?
my basic strategy for
laura conrad asked a question similar to this a while ago, and never got
an answer i'll try again:
i am attempting to force the current key signature to display after a
\break, but without also printing a cautionary time-sig at the end of the
previous system. if i simply insert another \time
a better version, perhaps but i stil can't get around the need to
extra-offset the notehead and tie for the 'f':
\score {
\notes \relative c' {
\context Staff {
\new Voice {
\property Voice.NoteHead \set #'extra-offset = #'(-1.3 . 0)
in the following:
\score {
\notes \relative c' {
f g c~f g c
}
\paper { raggedright = ##t}
}
it seems clear to me that the tie between g's should go up, to avoid
colliding with the tie between f's. unfortunately, that does not follow
the rule of curving away from staff center.
i have not been
On Friday 26 September 2003 04:57 pm, you wrote:
in the following:
\score {
\notes \relative c' {
f g c~f g c
}
\paper { raggedright = ##t}
}
it seems clear to me that the tie between g's should go up, to avoid
colliding with the tie between f's. unfortunately, that does not
follow
anyone have a method for putting parentheses around a grace note (other
than building the whole thing with \markup)?
specifically, i wish to have a parenthesized small notehead beside the
main note of a trill, to indicate the trill note.
yes, i have seen the discussion about placing an accidental
regression | beaming.ly states Beams may cross bar lines. In that case,
line breaks are forbidden.
i am attempting to typeset a piece with many cross-barline beamings. in
some places, there is insufficient opportunity, while avoiding
beamed-across barlines, to find line breaks. i get a warning:
AFAIK this is not yet available. i highly endorse your request for
inclusion of this much-needed feature!
perhaps, in the meantime, someone has a work-around??
best-
-p
Hi everyone!
I checked the Lily-documentation but couldn't find anything about it:
quater-tones. Is it possible to make
does anyone know how to change size of a metronome marking?
this changes everything, except the note stem (which stays as it was both
in position and size):
\notes { \property Score.MetronomeMark \set #'font-magnification = #0.5
\tempo 4 = 120 c''1 }
this doesn't seem to be addressed in
related to my recent query about metronome sizes:
\markup { \teeny \note #2 #0 #1 } yields the same problem (small
notehead, but original size/position stem).
anyone know a way around this?
-p
___
Lilypond-user mailing list
[EMAIL PROTECTED]
followup to my own post:
while the notation manual states: \note log dots dir with a note
explaining that the third value refers to the stem direction (+1 is up and
-1 is down), it does not tell us what i have just discovered: the third
value ALSO controls stem length and position.
\markup {
29 matches
Mail list logo
